Telehope – Chasing Dreams
Cincinnati AltPop five-piece Telehope’s debut, Chasing Dreams, crisply shows off the quintet’s clean, earnest Pop spin, which is largely driven by elegant piano and emotive (if sometimes syrupy) melodies and vocals. Highlights include the broad and ambient Pop of “Insomnia” and the instantly memorable hit-in-waiting, “Joy,” which is like one giant hook, from its jubilant groove to the infectious optimism of the lyrics. From the songwriting and production to the performances and presentation, Chasing Dreams is a promising introduction to a band that could quickly develop into something special. (Mike Breen)
Heavy Hinges – Cause a Scene EP
Described in a CityBeat review of Heavy Hinges’ debut as a “secret weapon,” Heavy Hinges singer (and ukulele player) MayaLou Banatwala emerges on Cause a Scene with more confident guidance. She matches the charisma of fellow singer (and guitarist) Dylan Speeg, a veteran local artist and musician (Rottweilers, Buckra) who anchors the band, with her perfect mix of Soul music’s expressiveness and Punk Rock swagger and sass. The other musicians (drummer Brian Williamson, bassist Andrew Laudeman and guitarist Jeremy Singer) are flawless throughout, providing both the precision and feel needed for a sound largely based on classic R&B, as well as a bit of Rock & Roll flair. Most of the members of Heavy Hinges have a wealth of musical experience, so they were solid from the get-go. But Cause a Scene shows what can happen when great musicians spend more time playing together — the effortless musical intimacy and camaraderie makes the music jump from the speakers and grab the listener by the collar in a way it didn’t before. (MB)
Devin Burgess and Xzela – celestialove
Hip Hop MC/producer Devin Burgess and singer/songwriter Xzela create something special on their hypnotic and entrancing 10-track collaborative effort, celestialove. The two artists’ compatibility is part of the reason the release is so effective and alluring, but make no mistake, their individual skills are bountiful. Xzela’s vocals — soulful and dream-like, even when she raps — crawl over and around the beats with confidence and comfort. Burgess’ captivating delivery alternates throughout celestialove, but his voice’s low-key and deceptively laidback timbre meshes perfectly with Xzela’s style and the recording’s overall wandering and wondering vibe. Sonically, celestialove possesses a warm, echoing fluidity, with gauzy atmospherics occasionally punctuated by glitchy noises that only enhance the trancelike powers of the recording. (MB)
The Grove – Coming to Terms EP
The Grove’s newest EP, Coming to Terms, is the sound of a young band experimenting with some vastly different musical styles than its previous offerings. The four songs on the EP draw from wildly different points of inspiration as members of the Cincinnati-based quartet delve into their varied influences. While the tonal shifts are unexpected, there’s one noticeable constant during the 20-minute run time — these song are really, really good. EP opener, “Anna Lee” is a slow, sultry ballad that is just begging for some Zippo’s to be held aloft, until a powerful suite of riffs and solos ends the song on a much louder note. “Bring You Up” follows, shifting gears into a heavily Reggae-influenced jam. “Either Way” ups the tempo as the boys showcase their Blues and Jazz chops. Coming to Terms accomplishes what many EP’s attempt but few achieve, simultaneously letting the band stretch its creative boundaries while still keeping the core focus intact. (Nick Grever)
Peridoni – Jade
Primarily-instrumental Prog band Peridoni’s Jade is seven tracks long, which for most bands would qualify as an EP. But Peridoni’s soundscapes aren’t hindered by any restrictive “three-minutes-for-radio” length goals. Instead, the band stretches things out with winding arrangements that showcase both the musicians’ individual chops and the close-knit musical bond they have with each other. It’s hard to decipher a running “concept album” theme on a recording that is 90 percent wordless, but there’s something about Jade’s entrancing cohesiveness that makes it feel like these tracks belong together, in precisely the order they are presented. That’s the hallmark of a true “album,” which is becoming a lost artform in the age of easy skips and shuffling playlists. Peridoni does albums well, with Jade showing a sense of depth behind the noodling and offering a broader context to understand the thoughtfulness behind the jams. (MB)
Brandon Coleman Quartet – Infinite Loop
Jazz guitarist Brandon Coleman moved to Cincinnati four years ago and met pianist Keigo Hirakawa, bassist Matt Wiles and Us, Today drummer Jeff Mellott, who helped him realize his third album release, Infinite Loop. The album is an inventively powerful blend of traditional Jazz modalities and Fusion/Prog elements that incorporate Coleman’s broad spectrum of influence. The discussion of his inspirations becomes a checklist of some of music’s greatest talents, including Al Di Meola and John McLaughlin. Infinite Loop shows how Coleman has evolved as a composer, performer and improviser, while also showcasing his quartet’s chemistry. (Brian Baker)
Injecting Strangers – Dyin’ to Be Born
Before their singer left for Los Angeles, high-energy Alternative rockers Injecting Strangers managed to finish three songs for an EP release/swan song. Fans of the band’s high-flying, catchy but progressive, eccentric and theatrically musical approach will not be disappointed with Dyin’ to Be Born, though the fact that it’s the group’s final output (for now, at least) might be a little depressing given how impressive it is. Still, it’s hard to be sad listening to the EP’s “Face of Nate,” which begins with a grandiose, operatic intro that would make Freddie Mercury smile down from the heavens, before settling into the meat of the song — a bratty swirl of attitude, a flurry of riffs that shed sparks and a groove that revs up like a funny car. Dyin’ to Be Born might seem short at only three tracks, but the epic-ness of “Face of Nate” alone feels like at least four exhilarating songs in one. (MB)
Brad Myers & Michael Sharfe – Sanguinaria (Hopefulsong)
Two of the most active working musicians in Cincinnati joined forces for Sanguinaria (Hopefulsongs), an understated and intimate recording that undeniably accomplishes its stated goal of showcasing the “elements of interplay and synergy (that) are fundamental to the essence of the finest Jazz expression,” particularly in regards to Jazz guitar and bass. While Myers and Sharfe are both clearly technical geniuses, Sanguinaria (Hopefulsongs) is a master class in how important feel and emotion are to Jazz. In our modern age of computerized recording perfectionism, the album’s directness and raw presentation is highly refreshing and the artistry in the performances is consistently riveting. (MB)
Lung – Bottom of the Barrel
Fueled by the dynamic vocals and imaginative cello work of Kate Wakefield and the sturdy, primal backbeat of drummer Daisy Caplan (former bassist of Foxy Shazam), Lung’s Bottom of the Barrel album is an extended version of the twosome’s album-previewing EP, which was released last year and has received love from various music blogs and sites, as well as international radio play. Wakefield’s distorted cello grinds and slashes on tracks like “Actor” and the album’s title track, often serving the role traditionally occupied by guitars, while her sometimes-layered vocals (coupled with Caplan’s hyper throb) add to the classic Post Punk vibe of tracks like “Peaches.” While obviously featuring atypical instrumentation, Lung’s songs rock with a fervor that would leave many furrow-browed hard rockers quaking in their boots. But it’s the omnipresent artsy quirk that makes the duo’s sound so irresistible. (MB)
Homage (CVG) and Waldo From Cincinnati – Grocery Choppin’
Grocery Choppin’ is a beat-driven sound collage with each track relating to food and other grocery-store-themes. The pair (known for their work in Hip Hop) seamlessly splices together samples from various Funk, R&B, Jazz and Rock sources to create hypnotic, soulful grooves, often with a barrage of interspersed “spoken” clips from recordings, TV shows and movies that direct the listener toward the various themes; other times, only the well-conjured mood suggests the thematic direction. Besides being a wildly enjoyable listening experience, Grocery Choppin’ also served as a benefit/fundraiser for the planned Apple Street Market, a community grocery co-op in the grocery-store-deficient Northside neighborhood. (MB)
Frontier Folk Nebraska – Warpig EP
FFN’s ever-sharpening songwriting skills have been at the core of its greatness, and Warpig (released in conjunction with Cincinnati-based indie label Old Flame Records) contains four of the band’s most memorable songs yet, each guided by soaring melodies that worm their way into your brain after just one listen. That has a lot to do with guitarist Michael Hensley’s powerful, high-ceilinged voice, which delivers the melodies with a force and urgency that’s undeniable. “Girls Like Wine” is a perfect example of the band’s ragged glory, with guitars that swagger like vintage Stones or The Replacements at their bash-and-pop best. “Song In A” puts the “power” in “power ballad” and shows the emotional weight the band is capable of injecting into its songs (think “Tuesday’s Gone” if it was written by Neil Young and covered by My Morning Jacket). (MB)
Joesph – Temples
Temples mixes the arresting melodies for which Joesph’s Joey Cook is known with structural explorations and a multihued, dynamic brand of Psychedelia. Sometimes it’s of the vintage Beatles or Strawberry Alarm Clock or Easy Rider Psych archetype — “Mysterious Ways” gives off the fuzzy Kaleidoscope Pop feels of The Zombies or Os Mutantes. Other times the lysergic effect of the music comes from a more contemporary experimental place, less defined by an era, like “I’m Dead,” which opens with what sounds like a musical exorcism before the bombastic, distorted throb gives way to sunbeam melodies and plaintive acoustic guitar that seems to reference traditional Chinese folk music. The album’s highlight, “Glowing Flower” (which appeared in shorter form on the teaser EP), is like an epic of trippiness that cycles through all of those mind-bending tints, perfectly tying the album together. (MB)
Moonbow – War Bear
Early on, Moonbow clearly established its brand of Desert Rock mixed with elements of ’90s Grunge and Metal, Prog and Honky Tonk, bringing the tastes and inspirations of each member into the writing sessions. But on War Bear, the quartet has had four years with a stable lineup of musicians who are all talented writers as well as performers. This has allowed Moonbow to assemble a set of 10 tracks that exhibit each member’s strengths without losing cohesion. Singer Matt Bischoff’s unique vocals, inspired by the likes of Layne Staley and Phil Anselmo, is clean but powerful as he continues his tradition of storytelling through his lyrics. Whether he’s reliving a memory with friend John Garcia of Kyuss on “California King” (Garcia provides guest vocals on the track) or viewing the Bataclan concert hall massacre from the eyes of a survivor in “Bloodwash,” Bischoff injects a narrative hook into each track. (NG)
PUBLIC – Sweet Lemonade
AltPop trio PUBLIC had a big 2017, frequently touring the country and building an increasingly fervent following. In June, the band played it’s biggest show to date, opening for Twenty One Pilots at the 20,000-seat Nationwide Arena in Columbus. The day before that big appearance, PUBLIC released its latest EP, Sweet Lemonade, recorded locally at Moonlight Studios and featuring the dance-friendly, synth-drenched opener “4Her.” The EP’s five songs are remarkably crisp and catchy, the most accomplished and ready-for-prime-time yet for a band that has been major-label-worthy since it came out of the gate. (MB)
Brian Olive – Living on Top
Living On Top is a culmination of all of Brian Olive’s varied musical experiences and comes off like a brilliant and exuberant mash-up of the ’60s Pop/Rock of The Kinks and The Beatles and the ’70s Soul/Pop ethic of Memphis, Tenn. in general and Stax Records in particular, jolted with a heart needle of contemporary Indie Pop verve. The album also reflects Olive’s eclectic musical tastes. The scorching Rock-and-Soul revue of “Somebody Stole That Song” could have been a mid-’60s hit for Otis Redding, while “Sideways” sounds like Steve Winwood and Traffic in their transition from Prog/Folk to Jazz, as they attempt to charm a snake out of a New Delhi basket. Olive’s impassioned vocals have the gritty smoothness of Paul Weller, and his sax solo on the title track sounds as if he’s holding a séance and conjuring the spirit of the late Bobby Keys at the height of his powers, namely his iconic work on The Rolling Stones’ Sticky Fingers. (While Living on Top has yet to be released nationally, Olive hosted a release party and briefly sold vinyl test copies of the record.) (BB)
Various Artists – Siyavakashela vol. 1 – Cincinnati
Siyavakashela vol. 1 from Cincinnati-based Heligator Records is a 19-track compilation showcasing the local Experimental music scene. The collection kicks off with pioneering artist John Bender’s glitchy, pulsating Electronic track “16.12.21.0756e” and then takes off in numerous unanticipated directions — from the dynamic Post Punk of Amanda’s Scanner and Stella and the scraping noisescapes of Dyon McCratney (from the bands Mardou, Vacation and Sleeves) and Alex York to the ambient guitar drone of Pete Fosco and twinkling, atmospheric dreamland of Zijnzijn Zijnzijn!’s “Aurels.” The album also includes the distorted Psychedelic Pop of “Dancing Like a Little Flower” by Vero (the solo project of Leggy’s Veronique Allaer) and the sweeping, swirling “Technicolor” by the trio Nanny, featuring vocal contributions from Molly Sullivan. (MB)
Sons of Silverton – Or Forever Hold Your Peace
Sons of Silverton consists of two experienced artists with a long history in the Cincinnati Hip Hop community and beyond — CITOAK came up in the ’90s with Cincinnati collective Watusi Tribe, while Kyle David is a key member of Cincinnati group Five Deez. As a tag-team, the MCs are perfectly matched — both are smart, imaginative writers who stand well above most of their peers in the lyrical department, so the fluid effusiveness of their deliveries blends together seamlessly. The production and musical landscapes that hover behind the rhymes and provide fierce, diverse beats also contribute to the music’s uniqueness and cross-era vibe, which in many ways makes it a rare timeless Hip Hop album. (MB)
Root Cellar Xtract – Rear View Mirror Eyes
With a sound based on the breezy, dusty Country Rock model conjured in the ’70s by bands like Buffalo Springfield, Poco, Eagles, Little Feat, Pure Prairie League, Sweetheart of the Rodeo-era Byrds and The Flying Burrito Brothers, Root Cellar Xtract is a relatively new Cincinnati band loaded with veteran area musicians. Its debut album, Rear View Mirror Eyes, impressively sticks to the “’70s Country Rock” game plan thoroughly and consistently (including the streak of Bakersfield Country reverence that ran through much of the original music). Given the broad spectrum of Americana styles finding favor with the popularity of Roots music these days — and given the expertise in varying genres that the players bring to the table — one might expect a band like Root Cellar Xtract to veer off on, say, an acoustic Country Blues jag for at least one song. But, reminiscent of the stylistic commitment on early albums by The Mavericks or Chris Isaak, the group never breaks character and it makes the album a more satisfying listen. (MB)
Swim Team – Swim Team
Swim Team creates a cyclonic whirl of noisy guitars, pulsating, primal rhythms and addicting melodies, weaving in and out of whatever lines are left between Punk, Post Punk, lo-fi Indie Rock and fuzzy, fierce Indie Pop. The group’s debut is impressively diverse — just when you think you have Swim Team figured out, the album switches gears dramatically. Opener “Dirty Work” is a hyper-catchy, almost sugary nugget of strutting Punk Pop, but by the second track, “I’m Fine,” the vocals shift to a full snarl and the band explodes into a more ominous slash-and-burn approach. Elsewhere, “Cherri Girls” has a Shoegazer-meets-’60s-girl-group vibe; “Everything Went Wrong” is what Enya might’ve sounded like if Guided By Voices guided her career; and the album closer, “Closest Thing,” is a chugging slice of soulful basement Rock. (MB)
Vibrant Troubadours – Cool Grass
Vibrant Troubadours specialize in raw, gimmick-free Rock & Roll steeped in Blues, Grunge and Pop and delivered with uninhibited passion without sacrificing musical proficiency. There’s an enjoyable dynamic on Cool Grass that unabashedly showcases the duo’s spectrum of contemporary Alt and Indie Rock influences. The thick distorted guitars, bleeding vocals and heavy rhythms of tracks like “In My Face” and “Don’t Buy Me Things” suggest a deep appreciation and admiration of Nirvana. But instead of the Punk Rock love that informed Cobain’s music, Vibrant Troubadours often shade their sound with a Blues-like feel (though Grass’ primal “Let’s Go” is a great, full-throttle Punk screamer). (MB)
Juan Cosby – Inhospitable Planet
Juan Cosby (aka Nick Mitchell) wanted to address America’s current contentious nature with Inhospitable Planet, but the producer didn’t want to hamstring his talented vocal guests (which include Blueprint, CJ the Cynic, Spoken Nerd, Eyenine, Ronin, Ialive and many others) by putting words in their mouths, so he merely provided the specific beat that he felt was appropriate — or appropriately odd — for each featured artist. The result is an incredibly musical Hip Hop album that gives voice to the palpable frustration and anger that permeates American culture while offering a few rays of hope for its resolution. That lyrical range, balanced against Mitchell’s evocative and singular beats and melodies, creates a compelling and engaging tension over the course of Inhospitable Planet’s 13 tracks. (BB)
Aaron Collins – Cloud Hug
Aaron Collins’ engagingly intimate Cloud Hug features songs that center on piano and vocals, with very light, atmospheric ornamentation. It’s gorgeous and soulful, distilling Collins’ distinct songwriting skills and the mesmerizing aura his music creates down to their bare essence. Collins says the idea for the album began when he was working at a coffee shop that had a piano, which he played during his frequent downtime. Growing up with a piano in the house, he says the album “feels like a return home,” and that sense of comfort and warmth comes through for the listener as well. Though the instrumentation is minimized, the songs still glow loudly, making for a wildly compelling listen. (MB)
Harbour – HEATWAVE
As the title suggest, the latest album from Cincinnati’s Harbour is full of beachy grooves and warm tones, a feel-good summertime Pop/Rock album. Early on, HEATWAVE features a trio of super-catchy songs — “Get You High,” “Oh No!” and “Obvious” — that will have fans singing along by the second chorus. The first half of the album is driven more by melody than lyrics, with songs that have a bubblegum Pop feel, but HEATWAVE takes a turn beginning with “Prolong,” as the band shows a more personal side while also dipping into folky elements. If you like bands like Bad Suns or The 1975, you’ll love HEATWAVE. (Amanda Weisbrod)
Jeremy Pinnell – Ties of Blood and Affection
While Country music’s mainstream is still littered with disposable Pop pap, it has been refreshing to see the rising success of so many artists who’ve allowed their traditional Country influences to shine through and don’t water down their music with overproduction or gimmicks. That makes it the perfect time for acclaimed Greater Cincinnati singer/songwriter Jeremy Pinnell to release his second album, Ties of Blood and Affection. Long a songwriting force with a stop-you-in-your-tracks voice, the latest album takes things to a new level, as Pinnell sounds more comfortable and poised than ever. The songs are honest and contemplative, but there’s less of the darkness that prevailed in his previous work, as Pinnell moves away from pain and regret and toward a sense of redemption and joy. Backed by a band that beautifully captures the spirit of the best of vintage Honky Tonk and Outlaw Country, Ties of Blood and Affection more than proves that Pinnell deserves to have his name added to the list of artists who are fueling the current “real Country” resurgence. (MB)
Near Earth Objects – Drift
Drift is a compelling collection of wonderfully orchestrated Indie Rock songs that lean heavily to the psychedelic side while still retaining a strong melodic structural core. Hypnotic without being meandering, Near Earth Objects’ layered arrangement style leaves a lot of pockets of space, which gives the music its atmospheric and ethereal character. That roominess also makes the movements within stand out more dramatically, so that each shift in tone and emotion has a greater impact. While the group has some similarities to Shoegazer bands, Near Earth Objects’ aesthetic is less “wall of sound” and more “chiffon curtain of sound elegantly fluttering in the wind.” The band certainly rocks, but it never strives to overwhelm, preferring to engage more cerebrally and seductively. (MB)
Vacation – Southern Grass: The Continuation of Rock n’ Roll Vol. 1 & 2
Vacation’s double album release offers an interesting pastiche of styles, as Vacation gathers Pop, New Wave and Classic Rock elements under its Punk umbrella. Some of those stylistic shifts are indicative of all four members contributing songs to the process, which creates a new and interesting dynamic that’s almost collage-like. The release’s warts-and-all attitude and lo-fi approach might be a byproduct of recording the 32 tracks in four days, but there’s an energy and chemistry evident that keeps the album compelling from start to finish, likely the result of the musical bond the new-look foursome (now featuring producer/musician John Hoffman on guitar) forged during relentless touring jags. (BB)
New Sincerity Works – Wonder Lust
Led by singer/songwriter/guitarist Mike Tittel, New Sincerity Works’ third album is devoid of low points. Highlights abound, including the rollicking “Just Like Vapor,” which shimmies and shines like an outtake from Big Star’s sessions for the classic #1 Record (albeit with swirling synth squiggles from a later era, a recurrent texture on the album) and the unforgettable title track. Wonder Lust revels in the recalibrating, resurrective power of song and melody. New Sincerity Works’ albums come by their timeless nature effortlessly, eschewing forced of-the-moment tricks or fads for a resonating emotional honesty that makes them feel less like “product” and more like an urgent Pop manifesto. (MB)
Taylor Shannon & the 2bit Smoke Parade – Another Sad Story EP
Taylor Shannon is often tagged as a Country artist and he’s never shied away from the classification. But as he and 2bit Smoke Parade show with the six songs that make up Another Sad Story, the term Country is relative. It’s such an engaging mesh of styles, you’ll feel bad for the stodgy, less open-minded music lover who might never give Shannon a chance because he or she “hates Country music.” It’s their loss. Classic, Southern and Modern Rock play just as big of a role on Another Sad Story, giving it a vibrancy and energy that is infectious. Shannon is a supremely talented artist no matter what field he’s working in; it will be fascinating to see where he takes his talents next. (MB)
Pike 27 – The Long Fight
The songwriting prowess, emotive vocals and strong playing that became trademarks of Pike 27 are in peak form on The Long Fight. While the album is capable of rocking with Stonesian swagger, an Elvis Costello comparison is more apt. Although that should be one of the most flattering comparisons a Rock & Roll band could ever receive, that’s not to say that Pike 27 has turned into a cheap Attractions knock-off. Like other great musical acts of the past 40 years, Pike 27 conjures the same spirit as the best of the massively influential Costello’s work, sharing with him not only a melodic magnetism, but also an ability to vividly and perceptively translate and project through song a full range of moods and emotions. (MB)
Johnnytwentythree - The Bridge
The musical and visual work of J23 always possessed the ability to effectively communicate emotion without the overt expression vocals can provide. And the band's first album since the death of bassist Joe Maier, The Bridge, bleeds melancholy, reflecting both the dark state that leads one to make such a drastic decision as suicide and the cataclysmic, often lifelong sorrow it casts on friends and family. Sonically, The Bridge is a thoroughly absorbing listen, and those who can directly identify with the topic will likely notice how much of it feels like a recreation of the turmoil that swirls around in the consciousness of everyone touched by such tragedy. Knowing the source of the music’s darker tones (Maier's suicide and the documentary The Bridge inspired the album's creation) makes it an even heavier listening experience. If you listen to The Bridge in its entirety (as the band intended it to be heard) and you don’t at some point get chills, tears welling in your eyes or lumps forming in your throat, your capacity for empathy is probably deficient. If you’re dealing (or have dealt) with the kind of profound despair that sparked the album’s creation, while it can be a cathartic listen, you might find yourself needing to take a few breaks. (MB)
